Monthly Archives: September 2015

You Can’t Go Home

Murder and Mystery in Dublin's poor inner city

Murder and Mystery in Dublin’s poor inner city

Tana French’s intriguing novel FAITHFUL PLACE is founded on the premise that you can never go home. But go home indeed is what Undercover Detective Frank Mackey is forced to do when something suspicious is uncovered in his old neighborhood. You see, back in 1985 on a cold winter eve, Frank made secret plans with his girlfriend, Rose Daly, to escape the dead-end life, poverty and dysfunctional family lives of their inner city Dublin neighborhood, Faithful Place. With a carefully planned out escape and elopement to London, Frank is uplifted by hope for once in his life. But when Rose fails to show up at the agreed upon hour and place, finding only a cryptic note, Frank  assumes she has dumped him and gone on alone. Frank leaves that night, not to return for over twenty-two years. That is, until Rose’s suitcase, packed with her clothes and tickets, turns up in a derelict building in Faithful Place. Thus begins a psychological tale of mystery pitting the successful son who “escaped” against the family members who remained home and true to their duties. In addition to family tensions, Frank is shunned as an outsider and turncoat for having become a cop, constantly judged and found lacking by dozens of watching eyes and whispering lips, evaluating his every move in the neighborhood. The mystery of Rose’s fate keeps the pages turning, as well as the tense, poignant, and cruelly realistic family vignettes in this novel. The characters are so sharply portrayed, it is hard to believe they aren’t real. French has a fine ear for language as well. The dialogue and slang of the rough streets of Dublin in the mouths of these characters, although unfamiliar, is lyrical and feels right. The only weakness I could see in the story was perhaps Frank’s daughter, Holly, who at age nine seemed a bit too sophisticated and savvy for her years.  Also, (no spoilers) a second body turns up and in the end, but I was not fully on board with the motivation for this murder was revealed. All told, however, French has spun another riveting tale of horrible violence, wrapped up and delivered in beautiful prose.

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Female Icons of the ’20’s and ’30’s

Fallen Beauty by E. Roebuck

Fallen Beauty by E. Roebuck

I recently picked up a copy of Erika Robuck’s novel FALLEN BEAUTY, featuring a fictionalized account of Edna St. Vincent Millay’s encounter with a local seamstress, while she was writing her sonnets at Steepletop. Author Robuck’s earlier novels HEMINGWAY’S GIRL and CALL ME ZELDA clearly point to her love of strong and intriguing women of the ’20’s and ’30’s. Who can blame her?  Although I have not read her other novels, BEAUTY has at least prompted my interest enough to delve more deeply into the works and biography of Millay and finally read the definitive biography on her, SAVAGE BEAUTY by Nancy Milford.

Robuck’s imagined Millay is at times repulsive and at others endearing and sympathetic. She captures the capricious nature of the poet along with her extremes of passion. The Millay character, based on what I assume is exhaustive research, plays against the character of a local seamstress, Laura Kelley, who has been left to raise her illegitimate daughter alone, abandoned by a cowardly lover in a small-minded town. The story alternates between the lives and view points of these two different women, until circumstances push them together as Laura secretly creates sumptuous costumes for Millay’s readings.

The book description tells us each woman is forced to confront what it means to be a fallen woman and what price she is willing to pay to live a full life.  I see that in the character of Laura, but not so much with Millay. In fact, in the end, the Millay character rather falls off the stage of the novel for a while as Laura Kelley finds new love and confronts old enemies.  Although I enjoyed the story, I felt that all of the women in it (Laura and her sister, Marie; Laura’s nemesis Agnes; Millay) were emotionally overwrought all of the time to the point that I found some scenes quite hard to believe and exhausting. The work also transformed from a fictionalized account and exploration of Millay to a sort of romance novel half way through and to the end.

Roebuck created a richly imagined small town populated with a variety of characters and a situation not dissimilar from The Scarlet Letter and then inserted the bohemian lifestyle of Millay as counterpoint. It is a worthy concept to explore, but I’m not sure it was fully developed.

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